Exhibitions

Who's filling up the walls of VOV?


annielumbao

Drawing The Line

Artist/Type of Exhibit Annie Pacana Lumbao

Date : March 1

Time : 6:00 PM


We have a shared experience of the city and an intimate relationship with it in our own travels. It is both a public and a private experience. With every encounter, the city becomes legible yet remains elusive. We watch things go by whether we stay still or keep moving. We look up and see thick wires distracting our view of a clear sky. Lines connect and intersect, pile one by one, accumulate, entangle. They reflect an organic view of our urban lives against the order imposed by the artificial city. Spaces are marked territories. Lines demarcate, contain, set limits. We negotiate, violate, push boundaries. We draw the line, and then go past it.
A compilation of views of the urban landscape is expressed thru lines in Kaleidoscape,
presenting a counter mapping of daily encounters of infrastructures. It goes through the city, aestheticizing its chaos and, in the process, escapes it. Setting inanimate objects in motion in a kaleidoscope view, it distorts reality into abstraction and attempts to hypnotize to alter one’s state of consciousness. It brings the viewer into an awareness of the things in urban society that works similarly. One Still Frame is a depiction of an image along a timeline. In its stillness, it is moving. The work experiments with the nature of moving images, allowing the process to contribute to the form, and remains open to technology’s limitations and peculiarities. In a freeze frame, viewers are caught between motion and stillness with the lines tracing the gallery walls.  Outside, we realize, the line goes on.
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False Apparitions

Artist/Type of Exhibit Don Dalmacio

Date : March 1

Time : 6:00 PM

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Screen Shot 2018-03-24 at 3.21.27 PM

Lines Outside The Lines

Artist/Type of Exhibit Rolf Campos, Randy Constantino, Rose Delfin, Jhalanie Matuan, Rene Bituin

Date : March 1

Time : 6:00 PM

In the sequence of letters, it follows that A is preceded by B, then B by C, and so on. Rearranging the letters constructs a word and the structuring of these words creates a phrase or a sentence. The coherence depends upon the methodologies of arrangement. For narratives of formalities, there is an expected order; a progression that translates the statements into a systematic string of continuity. Out of this complex of abstracts, of structured words/phrases/sentences and of cerebral compositions, develops the ideas that can be verbalized, transposed into images or be given a tangible form with capacities for intellectual significance and weight. It is logical and could be exacting and indifferent, whereas, in a free and creative accumulation of words, the structure can be attributed with rhythm, exaggerations, aesthetically imbalance and other idiosyncratic pursuits.

From these creative accumulations comes this premise. The impulsive inventiveness that seeks to conceive forms by means of rudimentary elements and compelled by distinctive dispositions, operating from beyond the enclave of the academic and scholarly spectrum. As the discourse on artistic possibilities and barriers become more profound from the vantage point of the intellect, aesthetics and culture, and social politics, there are practitioners that are unperturbed by such sophistications and
approach the subject of art making with a nuanced candidness.

A simplicity that might be dismissed as naivety but are derived more from folkloric perceptions, bucolic sensitivities, an existential plight or visionary acuity through an altered state of consciousness. As we revert to the proposition of rearranging letters to create words, then phrases and then literary arrangements of coherent meaning, so too should we take into account the impetuous methods of creation. The seemingly untrained, non sequential and merely instinctive laying down of lines and color that concludes into a visual poetry.

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